Sentences with phrase «history of her artistic practice»

Browsing the history of artistic practices related to video and sound from the early 1960s until today, Video and après is devoted primarily to artists videos from the collection of the Musée National d'Art Moderne.

Naturally, the collection offers particular depth in artwork that relates to the history of artistic practice in Maine and New England.

They also contain the physical history of her artistic practice.

But Julien's making of the piece resurrebts the spectre of a history of artistic practice that traverses the film / theory nexus of the seventies and eighties, and, although now long gone, it is perhaps waiting in time for a future generation to discover.

There's truly a myriad of things that make Brice Marden stand out as an artist not just in the contemporary times, but in the history of the artistic practice.

We consider it mainly in connection with the history of artistic practice in the 20th and 21st centuries, when the expansion of industrial media and technologies incorporates within itself an interrogation of the new conditions of the production, distribution and status of the artwork as a commodity subject to market mechanisms.

, elles @ Centre Pompidou, and in the Museum of Modern Art's most recent permanent collection display, Counter Forms contributes to a burgeoning counter narrative that makes room for a wider, messier, and perhaps more compelling history of artistic practice in the 1960s and «70s.

Not exact matches

From the gut - wrenching, step - by - step chronology of the raid on Osama bin Laden's compound in Abbottabad to seafaring cultists practicing Scientology - like rituals in the wake of World War II to the 16th president twisting arms over the passing of the 13th Amendment, the best films of 2012 brought history to life with an extraordinary scrupulousness that still left room for vivid artistic expression.

Coming from a background of artistic practice and the history...

Influenced by Minimalism, American Conceptual Art, and Brazil's Neo-concrete movement, Dávila's artistic practice questions the inherent qualities of modern architecture and art throughout history.

Chris McCaw's artistic practice is firmly rooted in the history of photography while simultaneously pushing the medium in new directions.

The history of art is written, first, by organizing the chaos of myriad forms of artistic practice into neat parcels, and then, policing those territories forever more.

Seung - taek Lee's experimental practice holds an influential place in the history of Korean art; throughout his career, he has challenged traditionally held notions of identity and history, forging a new path for artistic exploration of environment, culture, and philosophy.

It opens up new perspectives on an artistic practice that is anchored in stories often excluded from history in and out of Thailand: voices of the poor and ill, marginalized beings, and those silenced and censored for personal and political reasons.

In dialogue with changing artistic practices over the past decade, Lerma explores various uses of materials for his paintings while considering the medium's relationship to history.

And in fact, while Veltkamp isn't ordinarily identified as an activist artist, he has a history of doing just such a thing in his artistic practice: he creates space.

The history of the American avant - garde is largely unwritten, unaccounted for, or undervalued, though it is generally accepted to have transformed contemporary artistic practices.

In addition to her prolific artistic practice, she holds the position of Professor of Contemporary Art at the University of Central Lancashire, where she leads the interdisciplinary visual art research project Making Histories Visible, reflecting critically on the success and failures of the Black Arts Movement and participating in numerous conferences on art of the diasporas.

Spanning from a drawing from the workshop of Raphael, to the first - ever watercolor by Winslow Homer to enter a museum collection, to works produced in the past five years by Natalie Frank, William Kentridge, and Titus Kaphar, the exhibition highlights the role of draftsmanship in artistic practice through a diverse selection of masterworks from artists across a wide range of art history.

Åsmund Thorkildsen, curator of that exhibition, gives an introduction to Sherman's artistic practice based on his in - depth knowledge of the Postmodern period in American art history.

An alum of Duke Ellington, New York - based Thomas has a robust artistic practice that explores language and images, through the lens of race, history, and identity.

She has produced over fifty exhibitions of Canadian and international artists, most recently «Rural Readymade» (2011), «Krimiseries» (2010), «Dig Up My Heart: Artistic Practice in the Field» (2010), «Formerly Exit Five: Portable Monuments to Recent History» (2010).

But whereas that exhibition consolidated an emergent artistic practice, Other Primary Structures consolidates a highly problematic form of global art history, one that is no less hegemonic than the narrative from which it supposedly departs.

Central to the exhibition are found images that «serve as bedrock for Pendleton's artistic practice and connect his form of abstraction with the history of the America Civil Rights Movement, the pre-war Avant - Garde, La Nouvelle Vague in film, and Minimalist and Conceptualist art practices of the 1960s.»

The curriculum is designed to create a broad - based knowledge of photography from traditional photographic techniques to the digital darkroom, including aesthetics, history, and artistic and professional practice.

Current projects include In the Shadow of the Negress: A Brief History of Modern Artistic Practice, which explores the constitutive role played by fictions of black womanhood in Western art from the late - eighteenth century to the present, and a companion volume — tentatively entitled Touched by the Mother: Contemporary Artists, Black Masculinities, and the Ends of the American Century — that brings together many of his new and previously published critical essays.

As part of the exhibition opening, several artists featured in After Darkness: Southeast Asian Art in the Wake of History — FX Harsono, Nge Lay, and Tuan Andrew Nguyen — come together for a thought - provoking discussion on their experiences navigating dramatic and often dangerous sociopolitical upheavals, and the profound effect these experiences have had on their artistic practices.

Curated by Tim Marlow (Artistic Director, Royal Academy of Arts, London), Frieze Masters Talks provides a platform for leading artists, museum curators, writers and critics to discuss the history of art and its continuing significance in contemporary practice.

A series of illuminating conversations with writers, scholars, curators, and historians will explore how Bay Area art has cross-pollinated with music, poetry, performance, film, and activism, placing artistic practice into the broader context of the region's unique social and cultural history.

A prolific curator and writer outside of his artistic practice, Cattelan is seen by many as one of Duchamp's greatest contemporary heirs, enacting morbidly humorous transformations on objects and history alike.

With his striking and original visual language and multifaceted artistic practice, Israel makes new connections between the city of Los Angeles, art history and the cultural productions of LA of both past and present.

A towering figure in the history of American Minimalism, Walter De Maria was profoundly influenced by mathematical concepts throughout his five - decade artistic practice.

Spanning practice and theory, Hockney's investigation of artistic techniques has also developed through art - historical research, resulting in Secret Knowledge (2001), his publication on the optical devices used by the Old Masters, as well as A History of Pictures: From the Cave to the Computer Screen (2016), written in collaboration with art critic Martin Gayford and further exploring the many ways artists have pictured the world.

His interest in Sri Lankan history palpably emerges in his artistic practice, most notably in his body of work «When Platitudes Become Form»... [read on]

Pairing two seemingly different artistic practices, CROSS / / ROADS aims to create a productive confusion that pushes the viewer towards a nuanced reading of both the art objects on display and the multi-layered set of ideas about abstraction, history, and artistic practice they represent.

Left deliberately untitled, these works are not portraits of single personalities but rather paintings, loaded with symbolism, acknowledging the rich history of the creativity of women who have profoundly impacted literature, artistic practice, and cultural thought.

These artists explore how their own movements through their artistic practice can result in a clever and self - reflective statement about art, art history and the role of the artist.

In a way that no other exhibition has done previously, Radical Women: Latin American Art, 1960 — 1985 will give visibility to the artistic practices of women artists working in Latin America and US - born women artists of Latino heritage between 1960 and 1985 — a key period in Latin American history and in the development of contemporary art.

Ossorio's years at Harvard left an indelible mark on him, partly because the study of art history there involved the practice of historical artistic techniques.

It was refreshing to see a pavilion focused confidently on articulating a vision and giving voice to accomplished and extensive artistic practice, which poetically traces the history of the country through cinema and music.

PROGRAM Monday, April 25, 2016 2 PM: Reception at the BAI 3 — 6 PM: «Medium in Permanent Flux» Introduction to the history of recent drawing by Jan - Philipp Fruehsorge M.A. «Since the 1960s until most recently drawing, unlike any other artistic medium, has been continuosly undergoing a transformation process which led to a radically new view and defintion of its functions and practices.

Harvard's program focused on art history rather than artistic practice, and after graduating, Ossorio sought formal training at the Rhode Island School of Design for a year.

I am active in my artistic practice but I do not have an extensive history of exhibiting or selling work.

The exhibition explores the evolution of Liu's artistic practice, and investigates the complex interactions between individual memory and history, and documentary evidence and artistic expression, among other themes.

Providence College — Galleries, with the support of the Department of Art & Art History at Providence College, present exhibitions and public programs focusing on contemporary art, innovative artistic practice and interdisciplinary cultural activity.

Some of the issues to be expanded upon are: research as artistic production; the problematic question of agency within co-production; professionalization versus the instinctual amateur; writing as curatorial practice; the exhibition as a form of research action; expanded notions of the curatorial and the role of research models and methodologies within these; art writing as a curatorial form, and the distinction between research into curatorial practice / exhibition histories and the curatorial as in itself a mode of research practice.

Art historian Rhea Anastas, media historian Nadja Millner - Larsen, and Light Industry cofounder and director Ed Halter, will discuss whether small - scale organizations establish a kind of instant art history, serving museums and culture - at - large as test sites for new artistic practice.

The Graduate Program's curriculum emphasizes the interrelatedness of practice and discourse, disavowing ahistorical or anti-intellectual approaches even while encouraging alternative and even oppositional interpretations of artistic, institutional, and cultural histories.

The photography curriculum is designed to create a broad - based knowledge of photography from traditional photographic techniques to the digital darkroom, including aesthetics, history, and artistic and professional practice.

Van den Dorpel employs various information technologies from this history of cybernetics in his artistic practice.